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Point Blank(1967) is a early feature by John Boorman who would go on to direct Deliverance(1972), Excalibur(1981), and The General(1998). It is an excellent noir about a man who's betrayed and left for dead who goes after the outfit that owes him money. Point Blank is a tightly constructed thriller with brillient montage and mise-en-scene. The film does a good job at showing the phychodelic colors of late 1960's San Fransico. Lee Marvin in this movie shows why he is one of the best Hollywood tough guys of all time. It is much better than the remake Payback(1999) because of Lee Marvin's presence and the masterful editing and camera work of the film.

This was a movie made for Marvin. Whether by design or by accident it matters not, this was the perfect vehicle for probably the only authentic believable actor as well qualified to play this type of screen role. Marvin looked like your average definition of a gangster, thug,slick operator, tough guy call it what you will and had the physique, persona, acting skills etc to carry the role and excel in it. Marvin acted above himself in this movie as he did in The Killers several years prior & reunited with Dickinson in the process something that added a special thread throughout the movie.There was sadly not enough of these types of roles to enable Marvin to display his obvious talent in portraying these types of screen characters but there was just enough to wet our apetite for more. Point Blank was probably the pick of them before Marvins career sidetracked to other areas which to my mind while it may have added to his body of work did not amply display to us the full talents of this contemporary one off actor the like of which I sadly fear we will never be fortunate enough to see again. That being said the movie was also notable for many other brilliant performances principally Lloyd Bochner, Carol O,connor & John Vernon who also possessed some of the qualities attributed to Marvin although not on the same scale or intensity.All In all a movie worth watching for a number of reasons. Lee we miss you. Heaven must be a gass with you & cassavetes steve Mcqueen etc.

In the wake of his Cannes Best Director award for The General, Boorman's stunning debut has been released with a new print. Unrelentingly downbeat, this stylish crime thriller made in 1967 seems to have fuelled virtually Elmore Leonard novel.

Steely, panther-like hitman Walker (marvellous Marvin) has been fitted up, shot at and had $93,0000 stolen from him all because of ex-pal Mal Reese (John Vernon). A tad upset he decides to resurrects himself, with the help of the shadowy Yost (Keenan Wynn) for revenge and his payment.

Boorman greets us with a five-minute sequence that is crammed with curious camera angles, fractured time-lines and carefully constructed compositions. We're bombarded by a montage of piercingly violent images blended together with fragments of a failed heist on Alcatraz Island and a pair of slugs ripping into Walker's body. We're only privy to these flash snippets of information, but they're still enough to help us empathise with Marvin's masterly obsessive.

A year or two later Walker is on a tourist boat trip to Alcatraz, being propositioned by Yost. The creepy Yost knows where Mal and his Walker ex-wife Lynne (Sharon Acker) are and is willing to reveal this to him, just as long as he receives some information on a shadowy body called "The Organisation". Walker simply nods. His dialogue is minimal, his obsession is reflected through his curt questions, his sudden movements, his eyes and the flashbacks that haunt him.

When he catches up with his cheating ex-wife he allows her to talk uninterrupted in a desperate, forlorn monotone - "He's gone. Cold. Moved out," she says. Walker barely takes it in, all that motivates him is the thought, "Somebody's gotta to pay."

While others flounder, Marvin appears impenetrable like one of Sergio Leone's cowboys. Only Clint Eastwood never conveyed this much emotion in his movements.

Boorman's seminal film preceded the spate of fabulous paranoia flicks that enriched 70s American cinema – The Conversation, The Parallax View, All The President's Men – where a shadowy "Organisation" pulls the nation's strings. Tarantino has since appropriated this organisation theme on a small-time level, plagarising the black suits and the unwavering professionalism of the violence. De Niro's ex-con in Jackie Brown is based on Marvin's Walker, as are countless other performances.

Even Angie Dickinson, playing Lynne's sister Chris, leaves him cold. In a remarkable scene she resorts to repeatedly slamming Walker's immovable slab of a chest. He remains impregnable, emotionally void. She keeps on punching until she finally collapses on the floor in a heap. They finally make love, only for the isolation, the loss of identity, to continue. Is he an avenging angel? Is he there at all?

"Hey, what's my last name?" asks a post-coital Chris. "What's my first name?" he deadpans, answering a question with another question. Always seeking answers, never providing them. No love left in him, only a need for payment.

Point Blank contains inspiring visuals, a haunting soundtrack and some stunning acting. Fabulous, groundbreaking cinema. --Ben Walsh

Still packs a whallop after all of these years, this was undoubtably a big influence on all the tough-loner-on-quest-for-revenge movies to come. What's really interesting is how Marvin's unemotional and seldom speaking character is quite fascinating. Instead of him being bland, we keep studying, somehow trying to find SOMETHING behind his cold stare.

Though tough, this movie is not without a sense of humor, though it's quite subtle, such as the test drive sequence. It's good stuff, though I did have one problem; the ending is quite confusing. I am sure other viewers will not quite be able to determine what's going on.

Point Blank is one of those lost gems from the 1960's. It got buried because it was released around the same time as Bonnie and Clyde. This film combines all the great elements of the American action film with flourishes of European art house cinema. John Boorman's direction is excellent, and not enough can be said about Lee Marvin's performance. This is without question one of Lee's best tough guy performances. I don't understand how the previous reviewer can say this film seems "dated" and "funny for all the wrong reasons". It is as fresh and interesting as it was back at the time of its release. Those looking for it on DVD may want to know that the widescreen format version appears on TCM occasionally. You may want to pop in a tape the next time it is on until the DVD finally comes out.